On longing for the return of vision

"Both Emily Dickinson and Bob Dylan suffered a similar breaking out of the cage of conditioned consciousness to stand for a moment outside of the text, outside of the cause and effect relationships of time, to be “awakened” from the walking sleep of normal consciousness to experience the light of what Dickinson called “Eternity". But both lost that vision, the moment passed, leaving them back in the literal world ravished but abandoned, damaged goods unable to return, yet unable to forget their glimpse of the promised land. Left alone with an unbearable longing for the return of that vision, they both were forced to put back on and wear the human masks with which we all lie our way through the world".

In the middle of the 1800s, Dickinson’s train bound for glory was, like Edward Taylor's, a horse-drawn carriage, and the moment of her revelation was “the Day/ I first surmised the Horse's Heads/ Were toward Eternity-." A horse is a horse is a horse, even on video, pertains Sam Renseiw, recording the the following scene, to be viewed here, or by patting the animal above (patafim #185, 00'48'', 3.6 MB, mov/quicktime - Flash version here)

Ephemeral Evidence

"Films of early dance, while one of the most important sources of information, are “mysterious”. The credits may be missing or incomplete, or different versions may exist in different archives. And while dance, like most art forms, has both primary and secondary research sources, dance films complicate the pursuit of information. Dance films are both primary and secondary because the filmmaker’s perspective intervenes..."

As time always seems to pass- anyway- the "now" of today, will thus be tomorrow's yesterday. For today's post, Sam Renseiw, chose a short compilation of choreographic work filmed some days ago, last week. View the steps by clicking here or enter the stage above. (patafilm #184, 01'15'', 5.4 MB, mov/quicktime - Flash version here)

On crankshafts, torque and roses

In his aeronautical studies, Ludwig Wittgenstein followed the path which had been proposed by Boltzmann: in Berlin he studied the properties of flying objects with reference to hot air balloons, in Derbyshire the stabilisation and steering of flying objects, while in Manchester he devoted himself to the central problem of aeronautics, the development of an aero-engine. In this regard, there were two problems associated with conventional motors which had to be overcome; firstly, the large weight of the crankshaft, power plant and drive-shaft; and secondly, the destabilising torque from propellers driven from a central shaft. Wittgenstein’s original construction concept solved both problems

While Wittgenstein continued to brood on other more relevant questions after deposing his patent, the progress of aeronautic engineering speeded away to unbelievable heights. Sam Renseiw filmed a portion of an evolved hybrid crankshaft/torque application at a recent open fair in Bellahøj. Enjoy the ride here, or try sit in one of the vehicles above. (patafilm #183, 02'30'', 11 MB, mov/quicktime - Flash version here)

On formal austerity and limited colour scale

The paintings of Vilhelm Hammershoi are noted for their quiet, austere simplicity, and tonal studies of light and shade. He lived and worked mainly in the old quarter of Copenhagen, and painted portraits, landscapes, architectural subjects, and, above all, Vermeer-like interiors, usually with a figure standing or seated. His paintings convey the particular Danish mix of puritanism and neoclassicism, psychological complexity and guarded modesty. In 1902, Hammerhoi painted The Buildings of the Asiatic Company, seen from St. Annæ Gade. Two building, a late baroque palace and an adjacent warehouse, joined by an arched portal. The frontallity of the painting centres around the void between the buildings, accentuated by a quite limited colour palette, held in shades of grey and grey-brown

The same calm scenery can still be experienced today, more than 100 years later. Sam Renseiw caught a short glimpse of a motorised VIP exit trough the gate recently. View the Hammershoi setting in motion, or enter the gate above. ( patafilm #178, 01'11'', 5.2 MB, mov/quicktime -Flash version here)

Copenhagenfridaynightskate

" Friday Night Skate is a Copenhagen roller-skate event. On selected Friday evenings you are able to skate through Copenhagen in the middle of the street with a large group of people. The participants are protected from other road users, so you can enjoy safe and undisturbed skating in the middle of traffic. Every skate event has a different 15-20 km route through the streets of Copenhagen. Friday Night Skate is a cool way to experience the city with a lot of other people..."

Following a broken leg in late January, Sam Renseiw, now fully recovered, donned his skates for the first Friday Night Skate this year; Here is a classic video post for the purist vloggers, complete with short glimpse(s) of good old Sam. Enjoy by clicking here or join the crowd above. ( patalab02 classic vlog #3, 03'58'', 16 MB, mov/quicktime - flash version here)

Update 2!! NEW skater movie from Friday, August 4th > Go to top of blog and see the post from Monday, August 7th.

Update !! NEW skater movie from Friday, June 9th > Go to top of blog or see the post from Saturday, june 10th or click here.
For Windows /PC users: for great video views get quicktime (free) here.

On the tangible of surface and space(s)

"You can make street art with grafedia, or just leave behind simple calling cards for others wherever you go. You can have running dialogues between authors, or create interactive narratives or poetry in public spaces. Grafedia is a boundless,interactive publishing platform, base, cheap, and easy to use. It is an open system - the places and ways to use it are limitless. With grafedia, every surface becomes potentially a web page, and the entire physical world can be joined with the Internet.."

Considering the flexibility of spatial surfaces and the boundless potentials of tangible virtualities, Sam Renseiw mashed-up a pair of footprints (55°40'54.70''N 12°36'14.50''E) with some further concrete. The footprints can be found all over Europe. View this entry by clicking here, or see if the pair above fits you.(patafilm #180, 01'22'', 6.1 MB, mov/quicktime- )

As today's bonus, another arrival of a train at a station, expanding the Lumiere Bros. first cinematic piece considerably.Take a view of the trains here.

On the nature of marking the synthetic

A new advertising display method involves marking grass sports fields by bending the grass blades in definite zones and bending or leaving them straight in other zones in order to form an image or a word. The difference in the direction given to the grass blades is quite visible to the spectator(s). The grass blades are directed by means of an apparatus mounted on rollers which runs on the grass surface. The apparatus also has brushes and/or additional rollers which rotate to straighten the grass blades on definite sectors. The sectors form an image or the letters of a words.

While reflecting on the straightforward nature of markings, Sam Renseiw captured the intensity of a larger soccer field in the process of delineation. Though the intensity is clearly palpable, other images cogitate into interference. View the display by clicking here or enter the play-field above. (patafilm #179, 01'19'', 6 MB, mov/quicktime - Flash version at Blip.tv)

On space and background concrete music

A special area in concrete music consist of acoustic works by visual artists who oppose the industrial productions superiority alone by their handmade, modest and provincial works that deliberately resist the Hi FI criteria by their “cheap” sound. The conviction is, that any development of consequence only can result through a creative way of thinking and working.Maybe it all started with Piet Mondrians love of jazz; Composers of concrete music, on the other hand, seemed to build cathedrals of synaesthetic spaces, that only many years later would re-appear in the public realm. Danish EMP is one such marvellous example.

Folded as a coloured tripthic , Sam Renseiw latest pata-video lurks around simple choreographic schemata, with sampled remixes- of EMP pieces. Experience the green by clicking here, or chill-out directly above. (Patafilm #177b, 00'58'', 4.3 MB, mov/quicktime)

The basic idea of dipole scattering

If you stand in one spot as a light wave passes by, there will be an oscillating electric field and an oscillating magnetic field, which are perpendicular to each other. If the light is in the range of frequencies that we can see, then the frequency of the vibration affects the colour of the light. The colour-vision receptors in our eyes, the cones, are of three types: "blue" receptors that respond to light over a broad range of high frequencies, "green" receptors that respond to medium frequencies, and "red" receptors that respond to low frequencies.

As the ranges of sensitivity of receptors overlap considerably, Sam Renseiw decided to have a maximum sensitivities at different frequencies, still leaving open such relevant question as why the sky is blue or what makes a sunset red. View a short frequency of Amager park life by clicking here or enter the blue above ( patafilm #177, 2.9 MB, mov/quicktime)

On Elementary repetition and rhythm

Repetition and rhythm are structural or organisational properties of an art form,pattern or design in terms of compositional elements. The reoccurrence of a design element provides continuity, flow, and dramatic emphasis. This repetition may be exact or varied and it may establish a regular beat. Visual rhythm, like audible rhythm, operates when there is an ordered repetition of elements. The look or feel of movement is achieved by repetition of elements

Every day is a good day; Thus, Sam Renseiw captured a banal piece of arduous work, continuing a disparate serial visuality, that, similar to koans, may serve as a point of concentration during other activities. What would the adequate visual response be- to the following patafilm - containing the question: "Does cobblestone pattern-laying have Vlog-nature or not?" (patafilm #174, 00'42'', 3.2 MB, mov/quicktime- Flash version here)

On the vulnerability of vision

An artistic endeavour comes into the world naked, unnamed, and vulnerable. Every creative effort requires the artist to wrest something from nothingness, a purposive cosmos from an apparently indifferent chaos; An artist feels vulnerable to begin with; and yet the only answer is to recklessly discard more armour. Receptivity requires a nimbleness, a fine-honed sensitivity in order to let one's self be the vehicle of whatever vision may emerge. Only he who has a different visual opening can see the world in another way and can pass on to his neighbour the information required to broaden a field of view(s). ... Let us get used to looking at the world through the eyes of others. An artistic endeavour is recognised for its vision(s), not its reporting(s).

Sam Renseiw would like to be able to leave today so he wouldn't have to set eyes again on all the places he was unable to properly develop on video; Yet, a certain vision will become clear only when looked into the heart. "Who looks outside, dreams. Who looks inside awakens". Spacetwo : patalab's blog frame is but a feeble attempt to convey some inner, re-views of personal occurrences, via video media. There is no urge to gain media attention, nor desire to participate in media-related spin-off's in this endeavour. View the latest visual here, or try leaving your armour on the hangers above.(patafilm #176, loop, 2.4 MB, mov/quicktime- Flash verison here)

Zero and Infinity are examples of a Distinction

“ The Way that can be spoken of is not the constant Way; the Name that can be named is not the constant Name. The nameless was the beginning of Heaven and Earth; the named was the mother of the myriad creatures. Hence always rid yourself of desires in order to observe its Secrets, but always allow yourself to have desires in order to observe its Manifestations. These two are the same, but diverge in Name as they issue forth. Being the same, they are called Mysteries. Mystery upon Mystery, the gateway of the manifold secrets.”

On a quiet Saturday morning, Sam Renseiw, standing on a furnished treshold, recovered the mysteries of branded artefacts, in a former cinema, mutated into local retail temple. View some crossings here or take the gold out of the shelf above. (patafilm #175, 00'46'', 3.5 MB, mov/quicktime)

Something of the sort is going to happen

The future of the vlog, I would like to propose, lies in more explicit recognition of two poles, metaphysics and gossip, to which even serious vlogs tends and in more ingenious and convincing and effective ways of mediating between the two. For the vlog has the potential - by connecting the small facts that detain us with the large facts that enclose us - to be a means by which we are, if not unified, at least composed in a larger sense. Its future lies in exploiting to the maximum the power of the visual storyteller - who is able to invest a withheld fact with our curiosity, who can awaken in us a ravenous appetite for knowing a particular thing, a specific future - on behalf of the larger wonder of the metaphysician. By reconciling the vector of the journey towards revelation with the stasis of certain knowledge, such fiction would seem to fulfil one idea of the purpose of art: that of putting our minds and hearts into their least local mode without loss of intensity or interest.

As a picture is worth 1000 words, a short video should do for a whole speech muses Sam Renseiw, posting a lateral comment regarding the upcoming Vloggercon. View it by clicking here, or try pinching one of the seven hats above (patafilm #173, loop, 1.6 MB, mov/quicktime)

The question of white illumination

What is the colour of white light? This may seem like an odd question. After all, white light is white -- the combination of all the colours of the rainbow. And yet, depending on the context, white light does not always appear to our eye as white. When an observer stands in an atrium filled with "white" daylight and looks at a gallery illuminated with "white" tungsten-halogen lamps, the artificial light appears yellow or unnaturally warm. When the visitor stands in an artificially lighted space where there is no reference to daylight, the light appears "white" and a small spot of natural light will appear blue or unnaturally cool compared to the primary tungsten-halogen light source. So, which light is "white"? The answer is: both. (In fact, there is a wide variety of "whites," ranging from cool to warm, determined by the varying proportion of blue to red).

Further pounding on the intricacies of optical phenomenon in vlogposting , Sam Renseiw captured a short sequence of white retinal light, complete with warm-up choir. An almost snow-blinding video, contextualized in an architectural peak, with both natural and incandescent light- on a late afternoon in Bagsværd (55°45'42.67''N 12°26'38.39''E). View it by clicking here, or enter the composition above. (patafilm #171, 01'22'', 2.4 MB, mov/quicktime- Flash version at Blip.tv)

About assimilating simultaneous contrast

Colour appearance is affected by context. Small coloured objects will be more difficult to identify than larger coloured areas. Thus, you will be able to distinguish fewer colours with small point symbols or thin lines. Different surroundings also change the appearance of a colour. Small colour areas tend to appear more similar to their surroundings because of a perceptual process called assimilation. Conversely, contrast between a larger patch of colour and its surrounding colour will enhance the difference between them in a process called simultaneous contrast.

Stumbling upon a somehow uncommon sudden twin-body appearance, Sam Renseiw remembered bits of school wisdom about the Bezold-Brücke shift; Speculating for a moment about optical phenomenon, the Purkinje effect seemed to be the most adequate explanation to the visualisation above. View it here or go red above (patafilm #171, 01'33'', 3.5 MB, mov/quicktime-Flash here)

A certainly more mature approach is Brut Smog's mesmerising video Fleshtones. Triple X-rated downloads transformed into something of beauty, harmony and contemplation.

On perceptivity and transformation

Perception is a dynamic conflict between the attempts of an outer world to impose an actuality on us and our efforts to transform this actuality into a self-centered perspective. Perception is a confrontation between an inward directed vector of external reality compelling awareness and an outward-directed vector of physiological, cultural, and psychological transformation. Where these vectors clash, where they balance each other, is what we perceive.

As it is necessary, in learning to see, to acquire the art of representing things according to the sensation, not according to the perception, Sam Renseiw perceived, in a futile attempt to circumnavigate the subject, a short moment of some relative objectivity, and rendered it, subjectively. View it by clicking here or take a stroll in the garden above (patafilm #170, 00'37'', 2.4 MB, mov/quicktime- Flash version here)

More oblique and serious stimulating work on the topic of perception(s) can be assessed by either viewing Mette Mærsk's stills, or, by probing Spherical Object's latest, branched vlog post. And: enjoy additional bonus perceptive LoopVideo from patalab02.

On remix and the art of travel

"...In the spring of 1790, a twenty seven year old Frenchman, Xavier de Maistre, undertook a journey around his bedroom, later entitling the account of what he had seen in his book "Journeys around my Room" ‘Millions of people who, before me, had never dared to travel, others who had not been able to travel and still more who had not even thought of travelling, will now be able to follow my example,’ explained Xavier as he prepared for his journey. ‘The most indolent beings won’t have any more reason to hesitate before setting off to find pleasures that will cost them neither money nor effort.’ ..."

As virtual traveling and presence is one of the qualities of watching vlogs while in your room, Sam Renseiw, fascinated by puritito tomate tv charming videos, undertook a remix of a juvenile marching band in Valparaiso; Thus traveling all the way to South-America to meet pepa's empathic gaze on daily matters. View the original here and see the remix -or enter the image above; ( pata-remix #6, 00'55'', 3.9 MB, mov/quicktime- Flash version at Blip.tv)

On Media, Retrieval and Massage

McLuhan states that people adapt to their environment through a certain balance or ratio of their senses, and the primary medium of the age brings out a particular sense ratio. McLuhan sees every medium as an extension of some human faculty, with the media of communication thus exaggerating this or that particular sense. In his words, "The wheel...is an extension of the foot. The book is an extension of the eye...Clothing, an extension of the skin...Electric circuitry,an extension of the central nervous system". Whatever predominates media will influence human beings by affecting the way they perceive the world

As the content of any medium is an older medium, Sam Renseiw performed some remix of cool Bitlabmalmo's video postings, insisting that an analysis of media content is meaningless, since it is the medium which carries the lion’s share of the communication. Simply put, the medium affects the body and the psyche in relatively unconscious ways; thus it is more powerful than the message, which largely appeals to the conscious mind. Watch the remix here, or enter the blue post above.
(pavlovian-vlogremix#1, 02'04'', 9.3 MB, mov/quicktime, Flash version at Blip.tv)

Additionally, Patalab02 offers you a bonus ActionVideo here. (ActionVideo#8, 00'35'', 2.3 MB, mov/quicktime)

On traffic and weekend

Just possibly, there are more wrecked cars in Jaques Tati's Traffic than in Jean-Luc Godard's Weekend. But these are beneficent wrecks, sometimes deserted and forlorn, sometimes gamely trying to make do with whatever parts they have left. Occasionally snappish around the trunks and doorlocks, cars are neither more nor less mechanical than the people who drive them, and whom they wonderfully express.

Copenhagen traffic, although decried by the locals as horrendous, is a comparatively calm and steady flow, interrupted here and there by some incongruous vehicles. For the sake of documentation, Sam Renseiw captured a short moment of Copenhagen rush hour traffic ( at 16:45 pm, thursday 11.05.2005, 55°41'26.98''N 12° 35'19.71''E ) View it here or click on the limo above ( patafilm 168, 00'45'', 3.7 MB, mov/quicktime - Flash version at Blip.tv)

Of mice and Bill

Copenhagen, summer hot and visitor friendly, is also apreciated by ex-US president Bill Clinton; Bill arrived yesterday evening for a short stay of two days: "I'll spend my time as a tourist, and enjoy the city. I then intend to go on a shopping spree to help the Danish economy.. " said Clinton to a B.T jounalist. Officially it's actually not only shopping on Bill's schedule, but a speech to the chamber of trade in Copenhagen, and another speech to VIP's in the famous Tivoli garden.

Amazing what kind of rumble one can stumble upon, driving to work on your bike, muses Sam Renseiw, always camera-ready. Well, here is some fundamentally traditional vlogging for you: watch Bill Clinton discretely exit Hotel D'Angleterre working the crowd on his way to shop in Copenhagen, by clicking here or touch the icon above. (patafilm 167, 01'21'', 6.7 MB, mov/quicktime- Flash version at Blip.tv)

Territories of visual perception

Ramachandran believes this synaesthetic connection between our senses of hearing and vision was an important initial step towards the creation of words. Our earliest ancestors first started to talk by using sounds that actually evoked the object that they wished to describe. But that was only part of the process. He found that there was a cascade of other links in our brains which reinforce this tendency.

Without having the gift of synaesthesia, Sam Renseiw attempts to chart territories of visual perceptions, this time in a park like setting in Copenhagen. View it by clicking here or touch the red tulip strip above (patafilm 166 ,1.8 MB, loop, mov/quicktime)
- A quieter version, poetically more subtle version of a day in the park, by a new Danish vlogger, can be appreciated here.

Yet another arrival of a train to a station

"The cinema is an invention without a future" declared Louis Lumiere, who saw no future in the medium. He expected the novelty of watching images on a screen to wear off, when people could just as easily walk outside and open their eyes. He saw film as a technological curiosity and a trend that would not pass the test of time. For those first audiences, the very transcription of the most banal reality – the Lumiere bothers filming The Arrival of a train at La Ciotat Station – was a fantastic experience.

Sam Renseiw stayed inside the tram, filming the descent to the arrival at the station, on the way down from the Peak. A somehow banal, yet riveting short visual odyssey, capturing the inner whirls of a fixed gaze on some transient outline, synthesized. View it by clicking here, or touch the picturesque above (patafilm 165, 02'13'', 9.8 MB, mov/quicktime - Flash version here)

By calling uppon the factual

"...I turn to the poetic visual with the hope that I might pursue both the possibilities of disappearance and the power of presence. I seek a space that unfolds softly, one that circles around, slides between, swallows whole. I want to live in a visual world that is elusive, to live in subtle doubt, unwilling to allow sharp, high-definition, unambiguous visuals with rational meaning to slip through..."

A Sam Renseiw claim for the blurred, vaguely transparent precision of a certain synaesthetic gaze, where loud colors, dark sounds and flavored smells have the possibility of unfolding, discarding notions of verification, reliability, and facticity for plural truths rooted in the personal. View yet another vague attempt at vlogging by clicking here or enter the scene above. (patafilm 164, loop, 1.8 MB, mov/quicktime, Flash video here)

About conditions of simultaneity

Why is it that the little mermaid is perched simultaneously on her respective stone in the Copenhagen harbor and at the Royal Hong Kong Yacht Club ? The connection might be quite simple: Dragons. Figure it further out, complete with royal links, and maritime gossip.

A short visual riddle, recently captured and synæsthetically remixed by Sam Renseiw, including day views from Copenhagen and a night shot from a visit in Hong Kong. Enter by clicking here, or use the touchstone above (patafilm 163, loop, 1.7 MB, mov/quicktime, Flash video here)

The whole concept of either/or

".... Right or wrong, physical or mental, true or false, the whole concept of OR will be deleted from the electronic language and replaced by juxtaposition, by AND: This is done to some extent in any pictorial language where two concepts stand literally side by side..."

Introducing visual Anaphora in vlogs, and quoting William S. Burroughs, Sam Renseiw presents the latest visual remix, prolonged and without cut-up, from Rart. Watch the transient by clicking here, or plunge into the synæsthetic icon above. (patafilm 163, 01'18, 6.2 MB, mov/quicktime, Flash version here)

On the poetic substance of vlogging

"... There is nothing Pythian in such poetry. Nor is it purely aesthetic. It is neither the art of the embalmer, nor that of the decorator. It does not breed cultured pearls, nor does it deal in semblances and emblems, and it would not be satisfied by any feast of music. Poetry allies itself with beauty - a supreme union - but never uses it as its ultimate goal or sole nourishment. Refusing to divorce art from life, love from perception, it is action, it is passion, it is power, and always the innovation which extend borders..."

A Saint-John Perse pataquote, followed by a short Sam Renseiw strip-teaser, in velvety darkness. View it unfold by clicking here, or enter the cave above. (patafilm 143, 01'16'', 4.8 MB, mov/quicktime, Flash version here)

On the variety of the vlogging gaze

It's a grand mall. Yet, the shear immensity of the net's visual poetic potential seems, for the most, to hinder straightforward, individual experimental approaches. Here is a sampling of some recent poetic video postings from Venezuela, Canada, England, Sweden and Denmark. Rejoice : pure visual vlogging seems to expand, in its own quiet ways...

An overly expanded mall capture, from Sha Tin, billboard size, complete with muzak; Sam Renseiw, the picturesque fool, keeping on posting videos, intensifying cross-linking in the corresponding texts on Spacetwo : patalab. View this one by clicking here, or walk the mall above. (patafilm 157, loop, 2.1 MB, mov/quicktime, flash version here)

On figure-ground visuals

"... In most illustrations, we tend to perceive a figure that stands out from the background. In printed material, the figure is usually darker than its background. Figures also tend to be smaller and more regular than backgrounds. Sometimes these principles do not hold, and we have difficulty distinguishing figures from their backgrounds. However, this difficulty disappears when our brain somehow organizes these difficult visual images into a meaningful and recognizable pattern.."

A seemingly banal figure-ground video, spring in Copenhagen; Sam Renseiw passing by an architectural wall, complete with garden arrangement. View it by clicking here or try finding the hidden bird above by entering the tree. ( patafilm 159, 01'10'', 5.3 MB mov/quicktime)

On sentimental journeys

If we look back at the ways in which Victorian illustrators, publishers, critics, and poets themselves adapted and experimented with analogies between poetic and photographic forms, a very different reception history emerges in which Victorian poetry and poetics played an equally fraught and complex role in what could be described, for want of a better phrase, as the proto-cinematic aesthetics of Victorian visual culture.

A Sam Renseiw sepia-tinted Victorian look at a friendly Hong Kong street intersection, complete with color inlay. Watch it emerge by clicking here or enter the metropolis setting, by mouse-touching on the iconic corner above. (patafilm 158, 00'58'', 4.3 MB, mov/quicktime)

On the vertically oriented

Today, the more than 7,800 high-rise buildings put Hong Kong at the top of the list of vertically oriented cities, exceeding New York City's 5,819. More than 30 percent of Hong Kong's residents live in public housing blocks, some built in groups of 40-story look-alike apartment towers that are spaced 20 feet apart. For Westerners in Hong Kong, high-rise living can be liberating. One ex-pat couple from Australia said they can leave their young children with nannies and carry on with their social and working life, knowing the high-rise is friendly to kids.

A quick and colored glimpse of urban density from the back seat of a cab, on the highway: Sam Renseiw's visual deconstruction with radio sound. View the oscillating high-rises by clicking here, or enter the greenery above. (patafilm 154, 4.4 MB, mov/quicktime)

On the presence in it, of human activity

In Chinese paintings of the landscape, the landscape rarely exists as a setting for the depiction of human activity or as a veiled expression of human moods; it exists for itself and it exists as an expression of the cosmos. We can, in fact, determine when a painting was made by the presence in it of human activity or the sense of the painting as an individualistic or subjective expression of the artist.

Determining what kind of painting it might be, Sam Renseiw caught a slow-dub glimpse of the landscape in the morning misty rain on a monday morning. Click here to sense the presence, or touch the mountain top above. (patafilm 156, 01'22'', 5.3 MB, mov/quicktime, mp4 version here )